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Elvis Costello and Blondie
FOR IMMEDIATE RELEASE Media Contact: Bridget Smith v.845.583.2179 Photos & Interviews may be available upon request [email protected] ELVIS COSTELLO & THE IMPOSTERS AND BLONDIE EMBARK ON CO-HEADLINING SUMMER TOUR, BEGINNING AT BETHEL WOODS ON SATURDAY, JULY 20TH Tickets on-sale Saturday, April 6th at 10 AM April 2, 2019 (BETHEL, NY) – Bethel Woods Center for the Arts, the nonprofit cultural center located at the site of the 1969 Woodstock festival, today announced that Elvis Costello & The Imposters and Blondie will perform at the center on July 20th as the first stop on their coast-to-coast co-headlining tour. Tickets go on-sale Saturday, April 6th at 10:00 AM at www.BethelWoodsCenter.org, www.Ticketmaster.com, Ticketmaster outlets, or by phone at 1.800.745.3000. Elvis Costello and Blondie shared spots near the top of the UK Singles Chart 40 years ago when Blondie's "Heart Of Glass” sat neck-and-neck alongside Elvis Costello & The Attraction’s "Oliver's Army” in the company of The Bee Gees, Gloria Gaynor and ABBA. The same week, Blondie's seminal album Parallel Lines reached #1 on the Album Chart while Costello's Armed Forces landed at #3. Elvis Costello & The Imposters’ last tour in late 2018 found the combo reaching new live performance peaks. The band "came out swinging” (Star Tribune) in Minneapolis, were “unstoppable” in Anaheim (OC Register) and played an “epic and euphoric” (Variety) show in LA that even at nearly three hours “[left] ‘em wanting more.” The Imposters are: Steve Nieve (keyboards), Davey Faragher (bass) and Pete Thomas (drums). -
Prickly St. Nick
Montreal Mirror : Holiday Gift Guide 2006 : CDs/DVDs Page 1 of 13 This week... DVDs/CDs + Special Features • Games • Gadgets • Kitsch CDs/DVDs Prickly St. Nick The Mirror’s own jolly Holiday elf critiques the latest batch of season-specific releases by SANTA CUMMINS Ho, ho—cough—ho. I’ve been checking my list and checking it twice, but after listening to the latest laser-guided holiday claptrap, it seems that the majority of these greedy Grinches have been more naughty than nice. Heading up the naughty list is none other than that pipe-smokin’ child abuser Bing Crosby. So if you haven’t been a bad little boy or girl, pick up his collection of 16 yuletide chestnuts, Christmas Classics, or Crosby’s ghost of Christmas past promises to return to give your rump a sound rum-a-pum-pumming. Speaking of criminals, why not have yourself a merry little Christmas with the sweet falsetto vocals of Aaron Neville and his record, Christmas Prayer. His version of “Joy to the World,” complete with amazing backing from the Blind Boys of Alabama, is so sweet you almost forget you are listening to a man who spent years fighting off men in prison showers, and has a dagger/amoeba tattooed on his cheek. One of the ultimate velvet crooners, Nat King Cole of course got into the Xmas carolling racket back before the P.C. heathens took over and http://www.montrealmirror.com/2006/120706/giftguide2006_1.html 12/8/2006 Montreal Mirror : Holiday Gift Guide 2006 : CDs/DVDs Page 2 of 13 snatched prayers out of our schoolrooms. -
Fats Domino Goin' Home
“Goin’ Home” We’ll Miss You, Fats “Everybody started calling my music rock and roll, but it wasn't anything but the same rhythm and blues I'd been playing down in New Orleans.” - FATS DOMINO “As far as I know, the music makes people happy. I know it makes me happy.” - FATS DOMINO “Let's face it, I can't sing like Fats Domino can. I know that.” - ELVIS PRESLEY “Well, I wouldn't want to say that I started it (rock „n‟ roll), but I don't remember anyone else before me playing that kind of stuff.” - FATS DOMINO “Even if Fats didn‟t actually invent rock „n‟ roll, he was certainly responsible for accidentally inventing ska, and thus reggae … Antoine „Fats‟ Domino was definitely a great innovator, and richly deserves a much fatter entry in the history books.” – OWEN ADAMS On Tuesday, 3:30 a.m., October 24, 2017, New Orleans and the world lost a pioneering titan of rock „n‟ roll, “Fats” Domino. The popular pianist and singer-songwriter of the Lower 9th Ward was 89. During his career, this influential, yet humble performer sold more than 65 million records and had over 35 hits in the U.S. Billboard Top 40, including “Ain‟t That a Shame,” “Blueberry Hill” and “Blue Monday”. With producer and arranger Dave Bartholomew, “Fats” helped put his hometown on the rock „n‟ roll map. This shy lifelong New Orleanian influenced numerous artists including Paul McCartney and Randy Newman, who once confessed, “I was so influenced by Fats Domino that it‟s still hard for me to write a song that‟s not a New Orleans shuffle.” Domino‟s distinctive barreling triplet-based piano style, backed by a solid backbeat, was something exceptional, a step above traditional rhythm and blues. -
Wavelength (November 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• • -
Fats Domino, Early Rock 'N' Roller with a Boogie-Woogie Piano, Is Dead at 89
Fats Domino, Early Rock ’n’ Roller With a Boogie-Woogie Piano, Is Dead at 89 https://www.nytimes.com/2017/10/25/obituaries/fats-domino-89-one-of-rock-n-rolls-first-stars-is-dead.html October 25, 2017 By JON PARELES and WILLIAM GRIMES Fats Domino in 1967. Fats Domino, the New Orleans rhythm-and-blues singer whose two-fisted boogie-woogie piano and nonchalant vocals, heard on dozens of hits, made him one of the biggest stars of the early rock ’n’ roll era, died on Tuesday at his home in Harvey, La., across the Mississippi River from New Orleans. He was 89. His death was confirmed by the Jefferson Parish coroner’s office. Mr. Domino had more than three dozen Top 40 pop hits through the 1950s and early ’60s, among them “Blueberry Hill,” “Ain’t It a Shame” (also known as “Ain’t That a Shame,” which is the actual lyric), “I’m Walkin’,” “Blue !1 Monday” and “Walkin’ to New Orleans.” Throughout he displayed both the buoyant spirit of New Orleans, his hometown, and a droll resilience that reached listeners worldwide. He sold 65 million singles in those years, with 23 gold records, making him second only to Elvis Presley as a commercial force. Presley acknowledged Mr. Domino as a predecessor. “A lot of people seem to think I started this business,” Presley told Jet magazine in 1957. “But rock ’n’ roll was here a long time before I came along. Nobody can sing that music like colored people. Let’s face it: I can’t sing it like Fats Domino can. -
History & Tradition All-Time Letterwinners
history & tradition all-time letterwinners Since 1947 Warren Belin 1987-90 Dwayne Crayton 1977-80 Nick Belisis 1948-49 • c • Mark Cregar 1974-77 • e • Nick Bender 1997-2000 Bob Caesar 1955-56 Ward Cridland 1979 Paul Eberle 1978-80 • a • Doug Benfield 1973-75 Jimmy Caldwell 1998-2000 Derek Crocker 1979-80 John Eck 1981 Greg Adkins 2002 Terry Bennett 1970-71 Richard Cameron 1962-64 Dan Croom 1973 Farrell Egge 1961-62 Mark Agientas 1987-88 Tim Bennett 1999-02 Jim Camp 1945-46 Matt Crosby 1990-91 Mike Elkins 1985-88 Steven Ainsworth 1989-91 Brad Benson 1987-89 Edward Campbell 1972 Claude Croston 1954-55 Greg Eller 1982 Chad Alexander 1995,97 Steve Bernardo 1976-77 Glen Campbell 1984 Austin Crowder 1992-95 Tom Elrod 1996 Boyd Allen 1946-47 Joe Berra 1963-65 Tommy Campbell 1970 Ron Crume 1983 Ken Erickson 1966,68-69 Bob Allen 1958-60 Cornelius Birgs 2002 Mike Capone 1971 Carlos Cunningham 1979-82 Urban Ericksson 1976 Lee Allen 1972-74 Carroll Blackerby 1948-50 Bernie Capps 1945-46 Aubrey Currie 1956-58 George Ervin 1976-79 Tom Allen 1999 Terry Blanch 1978-79 Joe Carazo 1963-65 Carl Curry 1974-76 Marlon Estes 1992-93,95 Ryan Alston 1991-92 Rhett Blanchard 1991-94 Bill Carlisle 1961-62 Marlon Curtis 1998-99 Solomon Everett 1974-76 Louis Altobelli 1986,88-89 James Bland 1952-53 Andy Carlton 1972-73 Dominic Anderson 2002 Chris Blank 1997-2000 Frank Carmines 1985-86 • f • Jason Anderson 2001-02 Mike Blasiole 1967 Charlie Carpenter 1955-57 Mark Anderson 1975 Bill Bobbora 1969-71 Tehran Carpenter 1998-2000 Wilbert Faircloth 1962-63 Tom Anderson 1972 -
Wavelength (March 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 3-1981 Wavelength (March 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (March 1981) 5 https://scholarworks.uno.edu/wavelength/5 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. NEW ORLEANS POPS PRESENTS *starring * CHARLIE DANIELS KANSAS BAND MOLLY DELBERT HATCHET McCLINTON HANK WILLIAMS, JR. PLUS "THE CELEBRITY PARADE" UNDAY with KING "BUM" PHILLIPS MARCH 1 (Parade rolls at 8 p.m.) 5 P.M. - DOORS OPEN 4 P.M. MIDNIGHT TICKETS ARE $12 (Limited Advance) AND $15 On sale now at all ticketmaster outlets; D.H. Holmes, Louisiana Superdome, Warehouse Records (Gretna, Metairie, Kenner), the Mushroom & Leisure Landing. FOR MORE INFORMATION CALL (504) 821-3795 Features ErnkK-Doe _______________________________,6 The Percolators 10 •JAZZ• The Black Pope 12 New Orleans Songwriters 14 •BLUES• Walter Lastie 19 •CAJUN• Departments A/arch _____________________________________ RECORDSBOOKSTAPES JazZ ------------------------------------~ Rare Records -----------------------------~ Revkws ____________________ ~ Last Page ~~~· , ~) 132 CARONDELET Cover photo by Syndey Byrd '· ~ N.O ., LA. 70130 (504) 522-2363 Publisher, Patrick Borry. Editor, Connie Atkinson. Contract Advertlslna Sales, Steve Gifford, Lyle Matthews. Coatributin& Artists, Skip Bolen, Bunny Mauhews, Julia Nead, Kathleen Perry. Distribution, Laverne Kelly, Star Irvine. Contributors, 1 Carlos Boll, Jerry Brock, Bill Cat, Yorke Corbin, Ron Cuccia, Steve CUnningham, Zeke Fishhead, Steve Graves, Gilbert Catalogue Available Hetherwick, Coril Joseph, Andy Kaslow, Tim Lyman, Bunny Matthews, Hammond Scou, Jim Scheurich, Almost Slim, Rhodes 1 Spedale, Keith Twichell. -
Elvis Costello Began Writing Songs at the Age of Thirteen. 2017 Marked the 40Th Anniversary of the Release of His First Record Album, My Aim Is True
Elvis Costello began writing songs at the age of thirteen. 2017 marked the 40th anniversary of the release of his first record album, My Aim Is True. He is perhaps best known for the songs, “Alison”, “Pump It Up”, “Everyday I Write The Book” and his rendition of the Nick Lowe song, “(What’s So Funny ‘Bout) Peace Love and Understanding”. His record catalogue of more than thirty albums includes the contrasting pop and rock & roll albums: This Year’s Model, Armed Forces, Imperial Bedroom, Blood and Chocolate and King Of America along with an album of country covers, Almost Blue and two collections of orchestrally accompanied piano ballads, Painted From Memory - with Burt Bacharach and North. He has performed worldwide with his bands, The Attractions, His Confederates - which featured two members of Elvis Presley’s “T.C.B” band - and his current group, The Imposters – Steve Nieve, Pete Thomas and Davey Faragher - as well as solo concerts, most recently his acclaimed solo show, “Detour”. Costello has entered into songwriting collaborations with Paul McCartney, Burt Bacharach, the Brodsky Quartet and with Allen Toussaint for the album The River In Reverse, the first major label recording project to visit New Orleans after Hurricane Katrina and completed there while the city was still under curfew. In 2003, Costello acted as lyrical editor of six songs written with his wife, the jazz pianist and singer Diana Krall for her album, The Girl In The Other Room. He has written lyrics for compositions by Charles Mingus, Billy Strayhorn and Oscar Peterson and musical settings for words by W.B. -
THE LOUISIANA CULTURAL ECONOMY: 2007 Status Report
THE LOUISIANA CULTURAL ECONOMY: 2007 Status Report A report by Mt. Auburn Associates prepared for the: Office of the Lt. Governor Department of Culture, Recreation and Tourism ~ Office of Cultural Development Louisiana Cultural Economy Initiative www.crt.state.la.us/culture 1 THE LOUISIANA CULTURAL ECONOMY: 2007 STATUS REPORT AN ACTION AGENDA FOR THE CULTURAL ECONOMY In 2004, Lt. Governor Landrieu launched the Cultural Economy Initiative. The goal was growing the Cultural Economy and furthering the development of the state’s unique cultural products. An initial Cultural Economy Summit was convened in December 2004, followed in August 2005 with the second Summit in which a strategy for building the cultural economy, Louisiana: Where Culture Means Business was presented. In the year-and-a-half that followed this report, the attention has been on planning and recovery. In New Orleans, a Cultural Plan, completed as part of the Bring New Orleans Back Commission, created new energy around cultural redevelopment. In other hurricane-impacted communities, the effort has been directed to normalizing operations for the many cultural organizations, as well as supporting the cultural talent and cultural enterprises affected by the storms. It is now time to revisit the Cultural Economy, take a snapshot of how the state’s cultural industries have been doing, lay out a new set of priorities for the state’s Cultural Economy, and develop an Action Plan for turning these priorities into reality. That is the purpose of this report. This report will focus not solely on recovery and hurricane-impacted communities, but in moving the entire Cultural Economy forward. -
Joe Avery's Blues / the Eureka Brass Band Jazz at Preservation Hall [1] (LP)
2008/02/02 ゲストに文屋章さん、吉田淳さんを迎えて。 Joe Avery's Blues / The Eureka Brass Band Jazz At Preservation Hall [1] (LP) My Feet Can't Fail Me Now / Dirty Dozen Brass Band My Feet Can't Fail Me Now (LP) Do Watcha Wanna / Rebirth Brass Band Do Watcha Wanna Hail King Zulu / Wardell Quezergue and His Slammin' Big Band Maestropiece Carnival Day / Dave Bartholomew The Chronological Dave Bartholomew 1947-1950 She's My Baby / Fats Domino Dave Bartholomew Plays With Fats Domino - First Sessions Go To The Mardi Gras / Professor Longhair (7" Single) Rockin' Pneumonia And The Boogie Woogie Flu Part.1 / Huey“Piano”Smith Having A Good Time Here Come The Girls / Ernie K. Doe Ernie K. Doe (LP) Ride Your Pony / Lee Dorsey Ride Your Pony Ooh Poo Pah Doo part1 & 2 / Jessie Hill Crescent City Soul-The Sound Of New Orleans 1947-1974 Chicken Strut / The Meters Struttin What Is Success / Allen Toussaint What Is Success-The Scepter And Bell Recordings The Hook And Sling part 1 / Eddie Bo And The Soul Finders The Hook And Sling Hip Parade / Ronnie Barron (7" single) I Won't Cry / Johnny Adams The Best Of Ric Records・Volume One- Carnival Time! The Story Of My Life / Guitar Slim The Things That I Used To Do Come On part1 / Earl King Crescent City Soul-The Sound Of New Orleans 1947-1974 My Girl Josephine / Snooks Eaglin Soul Train From Nawlins-Live At The Park Tower Blues Festival '95 Ninety-Nine And A Half / Spiritualettes I Believe 2008/02/09 Run Little One / The Subdudes The Subdudes The Ten Commandments of Love / Aaron Neville Orchid In The Storm Last Train / Allen Toussaint The Complete Warner Recordings Walking The Long Miles Home / Richard Thompson Live From Austin TX Grey In L.A. -
Minimum Wage to Increase
Windows Springfield Southeast High School Vol. 14 No. 3 January 2007 What’s Inside: Athletes of the Myspace Month Page 3 #1 site By BRIAN GALECKI ART DIRECTOR MySpace.com has just recently been named the number one most viewed site on the Internet. “MySpace is taking • • • • over the world,” said Mattea Larson, junior. A playground in MySpace is responsi- the courtyard! ble for 12 students being David Wiant explores expelled in Edwardsville the idea of high school in November of 2006. recess. The students planned a Page 5 fight on MySpace to take • • • • place at school after an argument about who had Meet some new been invited to a party. teachers Another four were Pages 6, 7 & 8 expelled in Indiana for posting a movie about evil teddy bears. The movie contained offensive language; a teacher in the Minimum wage movie shared the same last name as a teacher in the same school district. For some students, MySpace is becoming a • • • • to increase place where they can Remembering freely disrespect their Dr. King By BRIEANA MADONIA vote, and the House by a 74-43 $15,600 a year. teachers, but others know better. He had a dream worth a STAFF WRITER vote. The bill was then passed “Raising the minimum “I don’t care about my thousand words. Many Southeast students by Governor Blagojevich. wage is a really good thing, so teachers. I’m just in Lindsay Murray tells it have jobs where they are “I am glad that it is going people can take care of their paid the minimum wage. -
Dr. John 2011.Pdf
I BIEN IN THE RIGHT PLACE BUT IT MUST HAVE BEEN THE WRONG-TIME DR. JOHN BY ASHLEY KAHN T S A CHALLENGE The Ph.D. may be self-endowed, to choose which bift-^to put it as he would—ain’t nobody Dr. John to cel disputin’ the title. Legal documents list him ebrate first. H e hm as Malcolm John Rebennack Jr., and his been active since friends call him Mac, but to a much larger m the rise of rods: & circle that stretches around the globe, he’s roll, and many are known simply, reverently as Dr. John, To the coats he has worn: riff master, R&B fully grasp his stature today—and his his guitarist, and boogie-woogie piano torical importance-^J| to understand how professor. Psychedelic-voodoo-rock Rebennack’s entire career is an ongoing shaman and stately New Orleans musi tribute to the city o f his birth. cal ambassador. Bandleader of top-tier Like the Mississippi River that first talent and A-list sessionman/pre gave New Orleans its crescent shape, ducer. Player of the city harbors a downhome blues HE ABSORBED free-flowing mu and singer of up sic scene awash town jazz stan NEW ORLEANS in its own history dards- ‘Ain’t no MIX OF SO U N D S and ever-open to difference,” Dr. outside streams of John said of him AND ST Y LES influence. Time self a few years is fluid there as back. “It’s all one sucka in there, however well—past and future styles flow com you want to break it down___” fortably together.